My collages, assembled from collagraphs, monotypes, etchings and found paper, and mixed media acrylic paintings all deal with the nature of abstraction.

My work, whether in printmaking, painting or collage is about exploring relationships. Bits and pieces from my visual experiences bump against each other. There are references in my work to the textures, colors, lines and shapes of things in the real world. The layering or unfolding of shapes, punctuations or expanses of color or character of a line order the picture plane. The resulting abstract images often allude to natural forms.

#1269 Untitled, mixed media acrylic painting on panel, 30×30″, 2013

#1270 Untitled mixed media acrylic painting on panel, 30×30″, 2013

#1271 Untitled mixed media acrylic painting on panel, 30×30″, 2013

The relationship of visual components in my paintings and collages is similar to what happens in jazz. There are themes and variations, repetitive devices, tensions and releases, riffs, harmony and dissonance. Like a jazz piece, there is a lot of improvisation. At each step in painting or making a print I may ask myself, “what if…?”, or “why not…?”, or “how about…?”

What if I limit my color palette, what if I work in a more minimal way or, on the other hand, what about excessive exuberance? Large or small? Paint or paper? Or both. Anything can spark an idea – something seen, heard, imagined. The results are often unexpected, and even though I may have some idea of the general direction, like jazz, there can be many twists and turns along the way.

Sometimes I assemble the collage on painted paper. The acrylic painting weaves its way in, out, and around the collage. Negative space and positive space play games with one another. There are all kinds of things to discover in this group of collages called “Rational Exuberance.” This is a case of “more is more.”

Each step, expected, or unexpected, is the impetus to continue the exploration or the journey in this painting or print or the next one. Serendipity is the hallmark of my work. I love the unpredictability of working with paint, paper, ink and plate.

This body of work consists of collages on paper and mixed media acrylic paintings. I recycle parts of my monotype and collagraph original prints and photographs with found paper from various sources. The collages and paintings are non-objective; the emphasis is on the relationship of line, color, shape and texture.

Working in one medium, i.e. monotype prints, usually leads me down another path because I’m always asking myself “what if?” What if I limit my color palette, what if I work in a more minimal way or, on the other hand, how about excessive exuberance? Large or small? Paint or paper? Or both. Anything can spark an idea – something seen, heard, imagined. There are always new avenues to explore.

Looking down can be rewarding. My “Underfoot” series of photos started when I had my head down and noticed the interesting abstract pattern of street and sidewalk marks made by construction workers. We seldom pay attention to such marks but they resonated with me and I began to photograph them wherever I traveled.

Combining my prints (re-purposed etchings, monotypes, collagraphs) with found paper to create collages took my work in a different direction. Cutting up and adding the “Underfoot” photos seemed like a logical next step. Their abstract quality echoes that of the other elements in the collage.

Sometimes I assemble the collage on painted paper. The acrylic painting weaves its way in and around the collage. Negative space and positive space play games with one another. The group of collages in this exhibit called “Springtime Suite” is colorful and energetic and was inspired by a visit to the Dallas Arboretum when it was ablaze with color.

I love to travel and have a large collection of paper maps. Remember those? I decided to use them in my collages. Instead of cutting them up I photographed them, enlarged segments in the computer and printed them out. I cut them up and they became part of the collage series “Have Map Will Travel.”

Another year has sped by and here I am again trying to capture those moments, all of which have added up to make 2012 a memorable year. Big moments, like celebrating my 70th birthday in San Francisco with my family, small ones like finishing the Neef’s baby blanket before baby Kate was born. Most of the moments are modest in size but added together they speak to my life, active, inquisitive and hopefully creative.

I’ve always believed the journey is more important than the end, for what is there when the “end” is reached? As I enter the next decade of my life I hope I will continue to explore and try new things, possibly (probably) failing here and there, but always moving forward. I have no doubt that some of the books on my shelves will go unread (I’m good about putting only one at a time on my iPad), there will be canvas left unpainted and my yarn stash will be diminished only to be replenished. I’ll hope for patience in these and other matters. The tragedies that abound in this world makes us realize how little is in our control. We must experience joy in the things we do and with the people we love right now, as we may not get second chances.

This was the year I started my ArtEveryday blog. I have a tendency to drag my feet when it comes to new technology (just ask my man), but with encouragement (pushing?) and help, eventually come around to embracing the new “new.” Sharing my passion for making art and my love of all things artistic with a wider audience has been fun and rewarding. Once a month seems to work out well. More to come in 2013. Stay tuned and keep re-tweeting!

My family’s blogs have helped me keep up with the world of healthcare, fashion, business, technology, travel, food, books and education. Dan, our non-blogger, has kept me supplied with pictures and videos of granddaughter Sabrina’s activities, which makes the time between visits bearable.

We’ve traveled a lot this year, here and abroad. I would dearly love to finish working on January 2012’s Chile/Argentina pictures before our trip to Iceland in June. Keep your fingers crossed.

I don’t usually make New Year’s resolutions (too much guilt associated with not keeping them) but I recently saw the following list (author unknown) and thought it expressed my desires for the New Year beautifully. I’ll call it my list of good intentions. Maybe it will be your list, too.

Dream more

Complain less

Listen more

Talk less

Love more

Argue less

Hope more

Fear less

Relax more

Worry less

Believe more

Doubt less

Play more

Work less

For all of you I hope that 2013 will be a year of great expectations, successes large and small, and many joyous moments.

I’ll begin the New Year with this poem with words of wisdom by Shel Silverstein.

HOW MANY, HOW MUCH

How many slams in an old screen door?

Depends how loud you shut it.

How many slices in a bread?

Depends how thin you cut it?

How much good inside a day?

Depends how good you live ‘em.

How much love inside a friend?

Depends how much you give ‘em.

From me, remember to make your life a work of art.

This Must Be Your Lucky Day collagraph collage, 8x11" on 15x22" paper, 2009

By the time I went to graduate school at the University of North Texas I considered myself a true Texan. Not really. I had only been in Dallas for three years, but I hauled up to Denton for my MFA (Master of Fine Arts) concentrating in painting, drawing and printmaking. For more than ten years after graduating I painted, painted, painted. Then, in 1990, I saw the light and dove into printmaking. After that, painting and printmaking (monotypes, collagraphs and solar plate etchings, alone, or in various combinations) have existed side by side, each medium informing the other.

This month’s Art Pick is an early monotype, one that I consider an “oldie, but goodie.”

Why not select it for that special someone’s Holiday Gift? Black Friday’s gone, but my discount is good all month. Free shipping, too!

I have been featuring a piece of my art each month which goes out to my email contacts. Now, it is time to have it make an appearance on this blog. Each month I choose a work of art from my inventory, sometimes an early piece, sometimes a recent one and discount the retail price by 30% and offer free shipping. The price is good for the entire month.

Consider doing your holiday shopping early and select this special piece of art for that special someone. Maybe that special someone is you!

Most people, except psychologists, don’t think a lot about color, except that they come to believe they “look best” in certain colors, some colors go together well and others clash. Today’s clashing colors are tomorrows hot new ones. Emotions and tastes (as in the mouth) are color driven. Ask any advertiser or product developer.

I think about color all the time. Over the course of my life in and with art, much of my decision making about color has become intuitive so it’s a little disingenuous to say I think about color all the time. But color is often the driving force in my work. It happens. It makes other things happen.

I recently completed a group of prints, each of which is divided into three parts like this one.

#1245 Strip Show 1, monotype:etching 11 3:4 x 6 3:4" 2011

The top section is a monotype. It is a rectangle of color, almost pure color with just a hint of bleached out marks. The bottom is a small etching, busy and energetic. A thin strip of a monotype or collagraph print separates the two. Here is another one.

#1246 Strip Show 2, monotype:etching 11 3:4 x 6 3:4" 2011

The strip is needed to separate the top and bottom, yet hold onto the connection.

#1247 Strip Show 3, monotype:etching 11 3:4 x 6 3:4" 2011

The small etchings are re-purposed prints from my stash, ready to be used in new and different ways. Their colors determined the color of the larger rectangle. Of all the color choices available, why did I choose these? Intuition? Would you believe me if I said a certain color “felt right?” That I “saw” it before I mixed the printing ink?

#1248 Strip Show 4 monotype:etching 11 3:4 x 6 3:4" 2011

Why did I add the bleached out streaks and spots in the upper rectangle? The color would be too flat looking without them. Boring. It had to contrast with the etching but also have a connection to it.

#1249 Strip Show 5, monotype:etching 11 3:4 x 6 3:4" 2011

Color is an important tool in my toolbox, although not the only one. Here are a few more pieces in the series for you to consider.

The operative word for this group of work is “re-purpose.” Same as “re-cycle.” Your choice. I have selected parts of my earlier collagraph and monotype prints, cut them up (yes!) and combined them to make a collage.